SCSI-TRI SCSI option

Users Guide

Thank you for purchasing the SCSI-TRI SCSI option. In order to enjoy long use of this product, please read this owner's manual carefully. When a hard disk, etc. is connected to the SCSI connector of the TRINITY, you will be able to save data to the hard disk in the same way as you do to the oppy disk.
Hard disk connections and settings
Up to 7 hard disks can be connected using SCSI cables. The maximum capacity of the hard disk(s) that can be connected is 4 Gbytes. The TRINITY uses a D-Sub 25-pin connector. The connectors of different hard disks may vary, so read the manual of your hard disk to check the type of connector it has before purchasing an appropriate SCSI cable.
1 Turn the power OFF for the TRINITY and the hard disk(s).
The power of the TRINITY and any hard disk(s) must be OFF before connecting or disconnecting SCSI cables or changing the ID number of a hard disk.
2 On the hard disk, set an ID number in the range of 06.
If you are connecting two or more hard disks, set them to different ID numbers so that they can be distinguished. For details on setting the ID number, refer to the manual for your hard disk. Setting two or more hard disks to the same ID will cause malfunctions or loss of data.
3 Connect the SCSI connector of the TRINITY to the SCSI connector of the hard disk.
If you are connecting two or more hard disks, make sure that the total length of the cables is less than 6 meters (18 feet).
4 Terminate the hard disk.
If two or more hard disks are connected, terminate the last hard disk in the chain (the hard disk furthest from the TRINITY). Even if only one hard disk is connected, that hard disk must be terminated. Some hard disks require an externally attached terminator. Others have a switchable terminator built-in. Refer to the manual for your hard disk.
Total length of SCSI cables must be less than 6 meters (18 feet)

SCSI ID0

SCSI ID1
SCSI ID2 Hard Disk Hard disk must be terminated

Hard Disk

5 Turn on the power of the hard disk(s), and then turn on the power of the TRINITY.
When turning on the power, turn on devices in sequence from the hard disk TRINITY. When turning off the power, turn off devices in sequence from the TRINITY hard disk.
Never turn off the power while the hard disk is being accessed (e.g., while the LED indicator of the hard disk is lit).

Formatting a hard disk

A hard disk that is connected must rst be formatted and optimized. When formatting is executed, all data that was previously on that hard disk will be erased. Before formatting a disk, make sure that it does not contain data you wish to keep.
1 In Disk mode P1 tab 3 page (Utility), use the drive select eld to select the hard
disk that you wish to format.

Drive select

When using Drive Select to select a hard disk, the ID numbers of hard disks that have not been formatted will appear as Unformatted, and the ID numbers of hard disks that are not connected will appear as None. Even if a hard disk has been formatted by a personal computer, etc., it will be shown as Unformatted, and such a hard disk must be formatted as well.
2 Choose the page menu command Format, and the following dialog box will

appear.

3 Assign a volume label (up to 11 characters).
When formatting is executed, this volume label will be displayed in the drive select area.
4 Press the OK button to execute formatting.
Formatting a hard disk will require a certain amount of time depending on the size of the hard disk. (Formatting a 540 Mbyte hard disk requires approximately 5 minutes.) After this has been executed, pressing the [COMPARE] key will not restore the original condition of the disk. Also, hard disks larger than 540 Mbytes will be formatted to 540 Mbytes. Do not install a hard disk that was formatted on the TRINITY series into another computer. Korg cannot guarantee the operation of such a disk.

Types of connected devices and their ID settings
SCSI devices other than hard disks can also be connected, including removable media such as magneto-optical disks (MO). Hard disks can be set freely to any ID number 06, but a removable media device can be used only when its ID number is set to 6.
Saving song data to a hard disk
1 Access the Disk mode tab 2 page (Save). 3
In the Drive Select box, select the hard disk on which you want to save the data.
Song data that includes an audio track(s) cannot be saved to a oppy disk.
3 Execute the page menu command Save Song.
Loading data from a hard disk
1 Access the Disk mode tab 1 page (Load). 4 3
In the Drive Select box, select the hard disk that contains the data you wish to
3 In the directory window, specify the data that you wish to load.
As necessary, use the Open or Up buttons to move through the directory hierarchy, and specify the data to be loaded.
4 Execute the page menu command Load Selected.
The dialog box that appears when Load Selected is executed will depend on the type of data that is being loaded. Follow the instructions given in the dialog box that appears. For details on the various dialog boxes and the procedure, refer to the explanations for the page menu commands in 11: Load of Disk mode in the Parameter Guide.
Erasing all data from a oppy disk or a hard disk
1 In the Disk mode tab 3 page (Utility) item Drive Select, select the oppy disk or a

hard disk.

2 Press the page menu command Wipe and the following dialog box will appear.
If you wish to change the volume label, use the text edit button.
3 Press the OK button to execute the command.
After this has been executed, pressing the [COMPARE] key will not restore the original condition of the disk.

Various messages

When the SCSI-TRI is installed, the following messages will be added.

Disk not formatted

Meaning: The disk that you attempted to Wipe was not formatted. Action: Format this disk using the TRINITY.

Error in wiping medium

Meaning: The disk wipe operation could not be executed. Action: The disk is damaged. Use a different disk.

11c: Assign/Hold

Here, you can specify how notes will sound when keys are pressed.
Voice Assign [Mono (Multi), Mono (Single), Poly] Selects whether the sound will be played monophonically or polyphonically. Mono (Multi): Multi-triggered monophonic playing. Mono (Single): Single-triggered monophonic playing Poly: Polyphonic playing When Poly is selected, the Retrigger Control and Threshold parameters will be unavailable. Priority [Last, Low, High] Specifies the priority order that will be used when the number of keys pressed exceeds the maximum polyphony. Last: The last-pressed note will take priority Low: The lowest note will take priority High: The highest note will take priority Hold When this is checked, the note will continue to sound after the key is released. However, if the EG selected by 4-1: Amp (normally the Amp EG is used) has a sustain level of zero, the note will decay naturally. Retrigger Control [OFFMIDI (CC#83)] Retrigger refers to the action of resetting the EG and LFO at the time of note-on (the EG will return to its start level, and the LFO will return to the beginning of the cycle of its waveform). Here you can select the controller (Retrigger Controller page 64 of this manual) which will specify whether or not the sound will be retriggered when a note-on occurs. Threshold (Retrigger Control Threshold) [1127] Specifies the value at which EG and LFO will be retriggered by a note-on. The state of the controller selected by Retrigger Control (i.e., whether the controller value is above or below the specified Threshold value) will determine whether or not the sound will be retriggered when a note-on occurs. The operation of this function will differ depending on the Voice Assign setting. With a setting of Mono (Multi), retriggering will occur if the controller is below the threshold value. If Retrigger Prog. Control is OFF, retriggering will always occur. Edit With a setting of Mono (Single), retriggering will occur if the controller is above the threshold value. If Retrigger P1 Control is OFF, retriggering will not occur.
If a note-on occurs when all notes are off, retriggering will always occur. LFOs whose Key Sync is turned OFF will not be reset even if retriggering occurs.

11d: Unison

Here, you can make settings for unison mode.
Unison [OFF, 2voices, 3voices, 6voices] Specifies the number of notes which will be sounded in unison. With a setting of OFF, unison will not be used. The maximum polyphony will be three notes with a setting of 2voices, two notes for a setting of 3voices, and one note for a setting of 6voices. Mode [Fixed, Dynamic] Specifies how the number of voices specified by the Unison setting will be allocated. With a setting of Fixed, the number of voices specified by the Unison setting will always sound. With a setting of Dynamic, the number of voices will be determined by the current note-playing situation. Detune [099] Detunes the notes that are sounded simultaneously by the Unison function.

12d: Portamento

Prog. These settings specify how portamento will be applied. (Portamento creates a smooth change in pitch Edit from one note to the next.) The setting you make here is valid only if Enable is checked. P1
Enable Check this when you wish to use portamento. Fingered Check this when you want to apply portamento only when a note is pressed while continuing to hold the previous note. Time [099] Specifies the portamento time. Higher values will cause the pitch to change more slowly. AMS (Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control Time. Intensity (Portamento Time AMS Intensity) [99+99] Specifies the way in which the portamento time will be controlled by the AMS.

1-3: OSC 1 Pitch

13: OSC 1 Pitch
Here, you can make settings for the basic pitch of oscillator 1, pitch modulation, and pitch slope.

13a 13b

13a: Basic Pitch
Specifies the basic pitch of oscillator 1
Octave [32'4'] Specifies the basic pitch of oscillator 1 in steps of an octave. 32' is two octaves below, 16' is one octave below, 8' is standard pitch, and 4' is one octave above. Transpose Adjusts the basic pitch specified by Octave in semitone steps. Tune Makes fine adjustments to the pitch in one-cent steps. Frequency Ofs Makes fine adjustments to the pitch in 0.1 Hz steps. [12+12]

[50+50]

[10.0+10.0]

13b: Pitch Modulation

Specifies the pitch Modulation.
AMS.1 (Alternate Modulation Source 1) [OFFMIDI (CC#83)] Selects a modulation source 1 (page 64 of this manual) which will modify the pitch (e.g., apply vibrato). Intensity (Pitch AMS.1 Intensity) [99+99] Specifies the depth and direction of the pitch change that will be controlled by AMS.1. AMS.1 Int (AMS.1 Intensity Alternate Modulation Source) [OFFMIDI (CC#83)] Specifies the controller (page 64 of this manual) that will control the Intensity (Pitch AMS.1 Intensity). Intensity (AMS.1 Int AMS Intensity) Specifies the depth of the pitch modulation effect controlled by AMS.1 Int. [99+99]
1-3: Osc1 Pitch, 1-4: OSC2 Pitch, 1-5: Sub Pitch
AMS.2 (Alternate Modulation Source 2) [OFFMIDI (CC#83)] Selects a modulation source 2 (page 64 of this manual) which will modify the pitch (e.g., apply vibrato). Intensity (Pitch AMS.2 Intensity) [99+99] Specifies the depth and direction of the pitch change that will be controlled by AMS.2.

13c: Pitch Slope

Specifies how pitch will change in relation to the keyboard (key)
Center Key [C1G9] Specifies the key at which Lower/Higher keyboard tracking will begin to apply. Low Slope [1.00+2.00] Specify the depth and direction of the pitch change that will occur for notes below the Center Key. High Slope [1.00+2.00] Specifies the depth and direction of the pitch change that will occur for notes above the Center Key. When Low Slope and High Slope are set to +2.0, playing one octave upward from the Center Key will cause the pitch to rise two octaves. With a setting of 1.0, playing one octave upward will cause the pitch to fall one octave. With a setting of 0.0, the notes in the respective areas will produce the same pitch as the Center Key. To play pitches normally, set this parameter to +1.0.

Pulse wave

Waveform (pulse width) modulation will modify a pulse waveform as shown below, creating time-variant change in the sound. When modulation is 0, a square wave will be produced, and when it is 99, the pulse width will be 0, meaning that there will be no sound. If the modulation value is a negative number, the results will be inverted.

Triangle wave

Waveform modulation will modify a ramp wave as shown below, creating time-variant change in the sound. When modulation is 0, a triangle wave will result, and as the modulation value increases, the waveform will become a ramp wave (a waveform in which the slope is broken in two). At a modulation value of 50, a trapezoidal wave will result, and at a value of 99 the waveform will once again be a triangle wave. If the modulation value is a negative number, the results will be inverted.Compared to sawtooth or pulse waves, -99 -this waveform produces a strong fundamental with fewer overtones, making it particularly suitable for bass sounds etc.

21a 21b 21c

21a: Wave
Main Wave [Saw, Pulse] Selects the main waveform. Select either Saw (sawtooth wave) or Pulse (pulse wave). Level Specifies the output level of the main waveform. [099]
Wave Edge [099] Adjusts the amount of high-range overtones for the main waveform. As the pitch rises, this effect will become stronger, and in the low range there will be little effect. Lower settings of this parameter will produce a more mellow sound, and in the vicinity of 0 the volume will also decrease. Triangle Level [099] Specifies the output level of the triangle waveform. It will be output mixed with the main waveform. Sine Level [099] Specifies the output level of the sine waveform. It will be output mixed with the main waveform. Phase Shift (Triangle & Sine Phase Shift) [99+99] Specifies the phase difference between the main waveform and the triangle and sine waveforms. (The triangle and sine waveforms will always be in phase with each other.)
21b: Waveform(Waveform Modulation)
Waveform [99+99] Specifies the waveform. For the way in which this value will affect the waveform, refer to the diagrams shown on the previous page for sawtooth wave, pulse wave, and triangle wave. LFO [LFO1LFO4] Selects the source LFO for waveform modulation. LFO settings are made in the Program Edit P6. Intensity (Waveform Modulation LFO Intensity) [99+99] Specifies the depth and direction of the waveform modulation that will be controlled by the LFO specified in LFO. AMS (Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control Waveform. Intensity (Waveform AMS Intensity) [99+99] Specifies the depth and direction of the waveform modulation controlled by the AMS. For negative settings, the polarity of the modulation source will be inverted.

21c: Resonance

Resonance AMS (Resonance Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control the resonance that was specified for each band pass filter. Intensity (Resonance AMS Intensity) Specifies the depth and direction of the effect of Resonance AMS. [99+99]
2:1 OSC 1 (05: Ring Modulation)

05: Ring Modulation

This multiplies the modulator and carrier and outputs the signal produced. One of four types of waveform can be selected as the carrier. Since the result will be a metallic sound with little sense of pitch, this is suitable for producing sound effects. The Ring Modulation oscillator contains an internal carrier oscillator. The output of the other oscillator etc. can be selected as the modulator.

Ring Modulation

Modulator

Carrier Wave

21a 21b
Input Specifies the modulator. [OSC2(1), SubOSC, Noise, Filter1, Filter2]
If you select 05:Resonance for OSC 1 and 2 in 1-2a: Multi Oscillator Synthesis Setup, and select the other oscillator as the Input for each, you may hear no sound at all for some parameter settings. Carrier Specifies the carrier waveform. [Saw, Square, Triangle, Sine]
Wave Edge [099] Specifies the amount of high frequency harmonics for the carrier waveform. As this value is decreased, the sound will have less high-frequency harmonics, and as it approaches 0 the volume will also decrease. Type [1, 2] Selects the modulation type. The two types differ in the tone of the high range. Type 2 will produce a brighter sound than type 1.

21b: Mod. Depth

Mod. Depth [099] Specifies the depth of modulation. At a setting of 0, the carrier waveform will be output without change. AMS.1 (Alternate Modulation Source 1) [OFFMIDI (CC#83)] Selects a modulation source 1 (page 64 of this manual) that will control Mod. Depth. Intensity (Modulation Depth AMS.1 Intensity) Specifies the depth and direction of the effect of AMS.1. [99+99]
AMS.2 (Alternate Modulation Source 2) [OFFMIDI (CC#83)] Selects a modulation source 2 (page 64 of this manual) that will control Mod. Depth. Intensity (Modulation Depth AMS.2 Intensity) Specifies the depth and direction of the effect of AMS.2. [99+99]
2:1 OSC 1 (06: Cross Modulation)

06: Cross Modulation

AMS (Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control the Level of drawbar 1. Intensity (Level AMS Intensity) Specifies the depth and direction of the effect of AMS.1. [99+99]

21b: Percussion Level

Specifies the volume level of the percussion effect for drawbar 1.

21c: Drawbar 2

The parameters are structured identically to those of 2-1a: Drawbar 1. Refer to 2-1a: Drawbar 1 and 2-1b: Percussion Level.

21d: Drawbar 3

21e: Percussion Generator
Trigger [Single/Multi] Use the radio buttons to specify how the percussion effect will be triggered. With a setting of Single, the percussion effect will apply to the first-played note from a condition of no sound. With a setting of Multi, the percussion effect will apply to each note that is played. Decay [099] Specifies the decay length of the percussion. As this value is increased the decay time will become longer. Level AMS (Level Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control the percussion level of each drawbar. Intensity (Level AMS Intensity) [99+99] Specifies the depth and direction of the effect of Level AMS on the percussion level.
2:1 OSC 1 (09: Electric Piano Model)

09: Electric Piano Model

This oscillator simulates an electric piano. There are four groups of parameters: Hammer (which specifies how the shape and motion of the hammer will affect tonal change and attack noise), Tone Generator (which vibrates in response to being struck by the hammer), Pickup (which specifies the tonal change that occurs when the vibration of the tone generator is converted into an electrical signal), and Low EQ (which is a shelving-type low EQ to adjust the low range).

Pickup

Pickup Position Tone Generator

Hammer to Low EQ

21a: Hammer
Force [099] Specifies the Strength with which the hammer strikes the tone generator. Higher settings will produce a brighter sound. Force Velocity Curve [OFF, 099] Specifies how changes in velocity will affect Force. As this value is increased, velocity will have a greater effect on Force, allowing more dynamic tonal change to be produced. With a setting of OFF, the Force will be constant. Width (Hammer Width) [099] Simulates the shape of the hammer. As this value is increased, the width of the hammer will become narrower, and the sound of the tone generator and hammer noise will become sharper. Click Noise Level Specifies the volume of the hammer noise that occurs at the attack. [099]

21b: Tone Generator

The Decay and Release that you specify here will control the output level of the oscillator. In order for these settings to have an effect, they must be set longer than the decay and release of the EG which you are using for the Amp.

Harmonics Position Specify the string location to be pressed to play harmonics Harmonics Mod.Source / Mod.Int. Specify the controller which will control the harmonics effect, and the depth of control.

21d 21e 21f

21a: Attack
Attack Level Specifies the force with which the string is plucked. [099]
Velocity [99+99] Specifies the depth and direction of the effect that velocity will have on Attack Level. The effect will be as shown in the following diagram.

Parameter value

Int= 0

Int= + Int=+99

Int=99

Velocity value

Noise Level [099] Specifies the level of the noise component that is included in the attack waveform. As this value is increased, a greater portion of noise will be included in the attack, and the sound will be brighter with more overtones. The noise signal used here is taken from the output of the noise generator. Velocity (Noise Level Velocity Control) [99+99] Specifies the depth and direction of the effect that velocity will have on Noise Level. For the way in which the effect occurs, refer to Velocity (page 36 of this manual).

21b: Attack Curve

Curve Up [099] Specifies the steepness of the rising edge of the attack waveform.When the rising or falling edge is steep, the tone will be harder.
Envelope of the attack waveform

Volume level

Attack Curve Up

Attack Curve Down

Velocity (Curve Up Velocity Control) [99+99] Specifies the depth and direction of the effect that velocity will have on Curve Up. For the way in which the effect occurs, refer to Velocity (page 36 of this manual). Curve Down Specifies the steepness of the falling edge of the attack waveform. [099]
Velocity (Curve Doun Velocity Control) [99+99] Specifies the depth and direction of the effect that velocity will have on Curve Down. For the way in which the effect occurs, refer to Velocity (page 36 of this manual).

21c: String

Picking Position [099] Specifies the location at which the string will be plucked. A setting of 0 is the end of the string, 50 is the middle of the string, and 99 is the other end of the string. AMS (Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control Picking Position. Intensity (Picking Position AMS Intensity) Specifies the depth and direction of the effect of AMS. [99+99]

21d: Harmonics

Position Specifies the location at which the string will be pressed to play harmonics. [099]
Control [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control the harmonics effect. Intensity (Harmonics Control Intensity) [99+99] Specifies the depth and direction of the control that AMS will have on the harmonics effect. When making the Position setting, you must assign Control to a controller other than OFF, and raise the Intensity value. The decay time of the harmonics effect will differ depending on the keyboard location that you play.

21e: Pickup

Pickup If this is checked, the sound will be passed through a simulated pickup. If this is not checked, the sound will remain unchanged. Position, AMS, and Intensity can be set when Pickup has been checked. Position Adjusts the change in tone that results from differences in pickup location. AMS (Alternate Modulation Source) Selects a modulation source (p64) that will control Pickup. Intensity (Pickup Position AMS Intensity) Specifies the depth and direction of the effect of AMS. [099]
[OFFMIDI (CC#83)] [99+99]

21f: Low EQ

Frequency Specifies the cutoff frequency of the Low EQ. Gain Specifies the gain of the Low EQ. [049] [18+18]
Low Boost [099] Specifies how the low frequency range will be emphasized. Raising this value will cause the low frequency range to be emphasized more strongly.
2:1 OSC 1 (13: Bowed String Model)
This oscillator is a physical model which simulates the sound of a bowed string instrument such as a violin or cello. By controlling the bowing speed and the bowing pressure, you can create performance expressions that are very close to those of an actual bowed string instrument.
Bowed String Model Bow Peaking EQ

Pressure String

Bridge Reflection
Bridge Reflection Bow Speed Position String vibration Bowed String Model
Parameters related to the string String Damp Dispersion

21a: Bowing Speed

EG [EG 1EG 4, Amp EG] Selects the EG which will control bowing speed (the speed at which the bow moves across the string).

Cutoff Frequency A Frequency B

Band Pass Filter (BPF)

Input Trim Specifies the level of the input to filter 1.
If this value is raised, the sound may become distorted if the resonance setting is high, etc.
32c: Cutoff/Cutoff A (Cutoff Frequency)
Frequency [099] Specifies the cutoff frequency of filter 1. As this value is increased, the cutoff frequency will rise. Since the BPF and Dual BPF filter types use filters with differing characteristics, their actual cutoff frequency may differ even if their settings are identical. EG (Cutoff Frequency Modulation EG) [EG1EG4, Amp EG] Selects the EG that will create time-varying change in the cutoff frequency of filter 1. Intensity (Cutoff Frequency Mod. EG Intensity) [99+99] Specifies the depth and direction of the control that EG (Cutoff Frequency Modulation EG) will have on the cutoff frequency. With positive (+) settings of this parameter, the tone will become brighter when the various EG levels rise into the + area (the setting of the Frequency will be reached when the EG levels are at 0), and darker when the EG levels fall into the area. With negative () settings of this parameter, the tonal change will take place in the opposite direction. AMS.1 (Alternate Modulation Source 1) [OFFMIDI (CC#83)] Selects a modulation source 1 (page 64 of this manual) that will control Frequency. Intensity (Cutoff Frequency AMS.1 Intensity) [99+99] Specifies the depth and direction of the effect that AMS.1 will have on the cutoff frequency. AMS.2 (Alternate Modulation Source 2) [OFFMIDI (CC#83)] Selects a modulation source 2 (page 64 of this manual) that will control Frequency. Intensity (Cutoff Frequency AMS.2 Intensity) [99+99] Specifies the depth and direction of the effect that AMS.2 will have on the cutoff frequency.

32d: Keyboard Track

Keyboard tracking settings specify how the cutoff frequency of filter 1 will be varied according to keyboard position.
Low Key Specifies the key at which Lower keyboard tracking will begin. High Key Specifies the key at which Higher keyboard tracking will begin. [C-1G9] [C-1G9]
Low Int. [99+99] Specifies the depth and direction of cutoff frequency change that will occur below the Low Key. With a setting of 50, the change will match the change in pitch. High Int. [99+99] Specifies the depth and direction of cutoff frequency change that will occur above the High Key. With a setting of +50, the change will match the change in pitch.
Cutoff frequency Int=+99 Int> 0 Int=+50 Int=0 Int<0

Int= 0 Int=-50 Int=-99

C-1 Low C4 High Key Key
32e: Resonance/Resonance A

Resonance [099] This setting emphasizes the overtones in the region of the Frequency to add character to the sound. Higher values will produce a stronger effect. With high settings of resonance, the output signal of the filter may distort. If this occurs, reduce the Input Trim setting. With the Dual BPF filter type, the overtones in the vicinity of each cutoff frequency will be affected in the same way as by a BPF.

The effect of resonance

Low Pass

High Pass

Band Pass

Band Reject

Low resonance value

High resonance value

AMS (Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control the amount of resonance. Intensity (Resonance AMS Intensity) [99+99] Specifies the depth and direction of the effect that AMS will have on the amount of resonance.

3-3: Filter 1 SUB

33: Filter 1SUB
If the 3-2b: Filter 1 Type parameter was set to Dual BPF, you can make settings for the 3-3: Filter 1 SUB parameters.

33a 33b

33c 33d

33a: Input Trim

Specifies the level of the input to filter 1.
33b: Cutoff B (Cutoff Frequency B)
Frequency [099] Specifies the cutoff frequency of filter 1. As this value is increased, the cutoff frequency will rise. Since the BPF and Dual BPF filter types use filters with differing characteristics, their actual cutoff frequency may differ even if their settings are identical. EG Intensity (Cutoff Frequency Modulation EG Intensity) [99+99] Specifies the depth and direction of the effect that the EG specified by 3-2: Filter 1 will have on the cutoff frequency. With positive (+) settings of this parameter, positive (+) EG levels will make the sound brighter relative to the value specified by Frequency, and negative () EG levels will make the sound darker. (When an EG level is 0, the value specified by Frequency will be used unchanged.) With negative () settings of this parameter, the change will take place in the opposite direction of positive (+) settings. AMS.1 Intensity [99+99] Specifies the depth and direction of the effect that the AMS.1 specified in 3-2c: Cutoff will have on the cutoff frequency. AMS.2 Intensity [99+99] Specifies the depth and direction of the effect that the AMS.2 specified in 3-2c: Cutoff will have on the cutoff frequency. It is not possible to change EG, AMS.1 or AMS.2 in the Filter 1 SUB page.

33c: Keyboard Track

Keyboard tracking settings specify how the cutoff frequency of filter 1 will be varied according to keyboard position. Low Key Specifies the key at which Lower keyboard tracking will begin. High Key Specifies the key at which Higher keyboard tracking will begin. [C-1G9] [C-1G9]

[099] [099] [099]

42b: Time (Amp EG Time)
Attack (Attack Time) [099] Specifies the time from note-on (when a note is played) until the volume reaches the attack level. With a value of 0, the volume will change instantly. With a value of 99, the volume will change slowly. Decay (Decay Time) Specifies the time from when the attack time ends until the break level is reached. [099]
Slope (Slope Time) [099] Specifies the time from when the decay time ends until the sustain level is reached. Release (Release Time) [099] Specifies the time from note-off (when a note is released) until the volume falls to zero.

42c: Level Control

Velocity [99+99] Specifies the depth and direction of the effect that velocity will have on the level of the amp EG.
When " Velocity" is set to a positive (+) value
Note-on Note-off Note-on Note-off Note-on Note-off

Settings of the Amp EG

Softly played notes

Strongly played notes

42d: Level Modulation
AMS (Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control the level of the Amp EG. Intensity (EG Level AMS Intensity) [99+99] Specifies the depth and direction of the effect that AMS will have on the level of the Amp EG.

42e: Time Modulation

AMS.1 (Alternate Modulation Source 1) [OFFMIDI (CC#83)] Selects a modulation source 1 (page 64 of this manual) that will control the Amp EG times. Intensity (EG Time AMS.1 Intensity) [99+99] Specifies the depth and direction of the effect that AMS.1 will have on the Amp EG times. AMS.2 (Alternate Modulation Source 2) [OFFMIDI (CC#83)] Selects a modulation source 2 (page 64 of this manual) that will control the Amp EG times. At (Attack Time AMS.2 Intensity) Dc (Decay Time AMS.2 Intensity) Sl (Slope Time AMS.2 Intensity) Rl (Release Time AMS.2 Intensity) [99+99] [99+99] [99+99] [99+99]
Specifies the depth and direction of the effect that AMS.2 will have on each EG time.
When the various EG times are set to negative () values

5-1: EG 1

Program Edit P5
This section provides four general purpose EGs (envelope generators). The four EGs can be used as modulation sources for the parameters of other sections to create time-variant change in the sound.
Note-off Attack level +99 Note-on Break level 0 Sustain level

Attack time -99

51: EG 1

51a 51b

51c 51d 51e

51a: Level

Start (Start Level) Specifies the value at the time of note-on. Attack (Attack Level) Specifies the value that will be reached after the Attack Time has elapsed. Break (Break Level) Specifies the value that will be reached after the Decay Time has elapsed. Sustain (Sustain Level) Specifies the value that will be reached after the Slope Time has elapsed. Release (Release Level) Specifies the value that will be reached after the Release Time has elapsed. [99+99] [99+99] [99+99] [99+99] [99+99]

Prog. Edit P5

51b: Time (Amp EG Time)
Attack (Attack Time) [099] Specifies the time from note-on (when a note is played) until the value reaches the attack level. With a value of 0, the value will change instantly. With a value of 99, the value will change slowly.
Decay (Decay Time) [099] Specifies the time from when the attack time ends until the Break Level is reached. Slope (Slope Time) [099] Specifies the time from when the decay time ends until the Sustain Level is reached. Release (Slope Time) [099] Specifies the time from note-off (when a note is released) until the Release Level is reached.

51c: Level Control

Velocity [99+99] Specifies the depth and direction of the effect that velocity will have on the EG levels.
When "Velocity" is set to a positive (+) value

Settings of EG1

51d:Level Modulation
AMS (Alternate Modulation Source) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control the level of EG1. Intensity (EG Level AMS Intensity) [99+99] Specifies the depth and direction of the effect that AMS will have on the EG levels.

51e: Time Modulation

AMS.1 (Alternate Modulation Source 1) [OFFMIDI (CC#83)] Selects a modulation source 1 (page 64 of this manual) that will control the EG1 times. Intensity (EG Time AMS.1 Intensity) [99+99] Specifies the depth and direction of the effect that AMS.1 will have on the EG times. AMS.2 (Alternate Modulation Source 2) [OFFMIDI (CC#83)] Selects a modulation source 2 (page 64 of this manual) that will control the EG1 times. At (Attack Time AMS.2 Intensity) [99+99] Dc (Decay Time AMS.2 Intensity) [99+99] Sl (Slope Time AMS.2 Intensity) [99+99] Rl (Release Time AMS.2 Intensity) [99+99] Specifies the depth and direction of the effect that AMS.2 will have on each EG time.
5-2: EG 2, 5-3: EG 3, 5-4: EG 4
52: EG 2 53: EG 3 54: EG 4
EG 2, EG 3 and EG 4 have the same parameters as EG 1. Refer to 5-1: EG 1.

6-1: LFO 1

Program Edit P6
This section provides four LFOs (Low Frequency Oscillators). These LFOs can be used as modulation sources for parameters of other sections, to create cyclic changes in the sound.

61: LFO 1

61a 61b 61c 61d

61a: Wave Form/Key Sync

Wave Form Settings for the general-purpose LFOs [Triangle 0ExpSawDown]

0: Triangle 0

5: Saw Up 180

10: Random2 (Vector)

14: Step Saw 6
1/2 cycle 1: Triangle 90 6: Saw Down 0
Random 2 changes in a straight line toward a value which is determined randomly every 1/2 cycle.

15: Exp Tri

2: Tri Random

7: Saw Down 180

11: Step Tri 4

16: Exp Saw Up

When Key Sync=ON, the starting phase will vary randomly.

8: Square

12: Step Tri 6

17: Exp Saw Down

3: Sine 9: Random1(S/H) 4: Saw Up 0
Amplitude and the duration at which each level is held will both change randomly (sample & hold).

13: Step Saw 4

Key Sync [OFF/by TIMBRE/by VOICE] Use the radio buttons to select the key sync setting (i.e., whether or not the phase of the LFO waveform will be returned to its initial state when a note-on occurs). OFF : The LFO will operate (cycle) regardless of note-on. by TIMBRE : Key sync will occur for the LFOs of all voices at the time of the first note-on that occurs in a state when no keys are on. by VOICE :Key sync will occur independently for the individual LFO of the voice for which note-on occurred.
Key Sync SW = byTIMBRE / byVOICE

Note-On

Key Sync SW = Off

61b: Frequency

If you used the radio buttons to select Frequency, set the following parameters to specify the LFO frequency.
F (Frequency) Specifies the frequency of the LFO. [0(0Hz)199(60Hz)]
AMS.1 (Alternate Modulation Source 1) [OFFMIDI (CC#83)] Select a modulation source 1 (page 64 of this manual) that will control the LFO frequency. Intensity (Frequency AMS.1 Intensity) [99+99] Specifies the depth and direction of the effect that AMS.1 will have on the F (Frequency) value. AMS.2 (Alternate Modulation Source 2) [OFFMIDI (CC#83)] Selects a modulation source 2 (page 64 of this manual) that will control the LFO frequency. Intensity (Frequency AMS.2 Intensity) [99+99] Specifies the depth and direction of the effect that AMS.2 will have on the F (Frequency) value.

61c: MIDI Sync

If you used the radio buttons to select MIDI Sync, set the following parameters to synchronize the LFO frequency to MIDI Clock.
When the Global mode parameter 1-1d: MIDI Clock (page 119 in Parameter Guide) is set to Internal the LFO will synchronize to the tempo specified by Prog. Temp, and if it is set to External the LFO will synchronize to the MIDI Clock messages received from an External MIDI device. MIDI Sync Base [ 3 ] Prog. MIDI Sync Time [116] Edit This is relative to the tempo determined by the MIDI clock, these settings specify the note length (Base) and its P6 multiple (Time) that will set the period of the synchronized LFO. For example if MIDI Sync Base is (quarter note) and MIDI Sync Time is 4, the LFO period will be four beats. Prog. Temp Selects the tempo that will be used when MIDI Clock is set to Internal. [40240]

6-1: LFO 1, 6-2: LFO 2, 6-3: LFO 3, 6-4: LFO 4
61d: Amplitude Modulation
AMS (Alternate Modulation Source 1) [OFFMIDI (CC#83)] Selects a modulation source (page 64 of this manual) that will control the amplitude of the LFO waveform. Intensity (Amplitude AMS Intensity) [99+99] Specifies the depth and direction of the effect that AMS will have on the amplitude of the LFO waveform. Offset Specifies the center value of the LFO waveform. [50+50]
Fade In Time [099] Specifies the time over which the amplitude of the LFO will increase from 0 until it reaches the maximum value.
Offset = 0 The parameter value being modulated LFO movement determined by Modulation Intensity Offset = 50 The parameter value being modulated LFO movement determined by Modulation Intensity Offset = -50 The parameter value being modulated LFO movement determined by Modulation Intensity
62: LFO 2 63: LFO 3 64: LFO 4
LFO 2, LFO 3, and LFO 4 have the same parameter as LFO 1. Refer to 6-1: LFO 1
Program Edit P7, Program Edit P8

Program Edit P7

Here, you can make settings for the insertion effects. For details on the parameters etc., refer to Parameter Guide page 44, Program Edit P7.

Program Edit P8

Here, you can make settings for the master effects. For details on the parameters etc., refer to Parameter Guide page 44 Program Edit P7.

Prog. Edit P7/8

4. Data
Retrigger Controller List
00: 01: 02: 03: 04: 05: 06: 07: 08: 09: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20: 21: OFF Velocity (Soft) Velocity (Medium) Velocity (Hard) Note Number(Linear) Note Number(Exp) After Touch Joy Stick (X) Joy Stick (+Y) Joy Stick (-Y) AfterTouch+JS(+Y) Ribbon (X) Ribbon (+X) Ribbon (-X) Ribbon (Z) Foot Pedal (CC#04) Value Slider(CC#18) MIDI (CC#19) SW1 (CC#80) SW2 (CC#81) Foot SW (CC#82) MIDI (CC#83)

Modulation Source List

00: OFF 01: EG 1 02: EG 2 03: EG 3 04: EG 4 05: Amp EG 06: LFO 1 07: LFO 2 08: LFO 3 09: LFO 4 10: Portamento 11: Velocity (Soft) 12: Velocity (Medium) 13: Velocity (Hard) 14: Note Number(Linear) 15: Note Number(Exp) 16: Note Split(Hi) 17: Note Split(Low) 18: After Touch 19: Joy Stick (X) 20: Joy Stick (+Y) 21: Joy Stick (-Y) *22: AfterTouch+JS(+Y) 23: Ribbon (X) 24: Ribbon (+X) 25: Ribbon (-X) 26: Ribbon (Z) 27: Foot Pedal (CC#04) 28: Value Slider(CC#18) 29: MIDI (CC#19) 30: SW1 (CC#80) 31: SW2 (CC#81) 32: Foot SW (CC#82) 33: MIDI (CC#83)